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National levels of personal health-care access and quality can be approximated by measuring mortality rates from causes that should not be fatal in the presence of effective medical care (ie, amenable mortality). Previous analyses of mortality amenable to health care only focused on high-income countries and faced several methodological challenges. In the present analysis, we use the highly standardised cause of death and risk factor estimates generated through the Global Burden of Diseases, Injuries, and Risk Factors Study (GBD) to improve and expand the quantification of personal health-care access and quality for 195 countries and territories from 1990 to 2015. We mapped the most widely used list of causes amenable to personal health care developed by Nolte and McKee to 32 GBD causes. We accounted for variations in cause of death certification and misclassifications through the extensive data standardisation processes and redistribution algorithms developed for GBD. To isolate the effects of personal health-care access and quality, we risk-standardised cause-specific mortality rates for each geography-year by removing the joint effects of local environmental and behavioural risks, and adding back the global levels of risk exposure as estimated for GBD 2015. We employed principal component analysis to create a single, interpretable summary measure–the Healthcare Quality and Access (HAQ) Index–on a scale of 0 to 100. The HAQ Index showed strong convergence validity as compared with other health-system indicators, including health expenditure per capita (r=0·88), an index of 11 universal health coverage interventions (r=0·83), and human resources for health per 1000 (r=0·77). We used free disposal hull analysis with bootstrapping to produce a frontier based on the relationship between the HAQ Index and the Socio-demographic Index (SDI), a measure of overall development consisting of income per capita, average years of education, and total fertility rates. This frontier allowed us to better quantify the maximum levels of personal health-care access and quality achieved across the development spectrum, and pinpoint geographies where gaps between observed and potential levels have narrowed or widened over time. Between 1990 and 2015, nearly all countries and territories saw their HAQ Index values improve; nonetheless, the difference between the highest and lowest observed HAQ Index was larger in 2015 than in 1990, ranging from 28·6 to 94·6. Of 195 geographies, 167 had statistically significant increases in HAQ Index levels since 1990, with South Korea, Turkey, Peru, China, and the Maldives recording among the largest gains by 2015. Performance on the HAQ Index and individual causes showed distinct patterns by region and level of development, yet substantial heterogeneities emerged for several causes, including cancers in highest-SDI countries; chronic kidney disease, diabetes, diarrhoeal diseases, and lower respiratory infections among middle-SDI countries; and measles and tetanus among lowest-SDI countries. While the global HAQ Index average rose from 40·7 (95% uncertainty interval, 39·0–42·8) in 1990 to 53·7 (52·2–55·4) in 2015, far less progress occurred in narrowing the gap between observed HAQ Index values and maximum levels achieved; at the global level, the difference between the observed and frontier HAQ Index only decreased from 21·2 in 1990 to 20·1 in 2015. If every country and territory had achieved the highest observed HAQ Index by their corresponding level of SDI, the global average would have been 73·8 in 2015. Several countries, particularly in eastern and western sub-Saharan Africa, reached HAQ Index values similar to or beyond their development levels, whereas others, namely in southern sub-Saharan Africa, the Middle East, and south Asia, lagged behind what geographies of similar development attained between 1990 and 2015. This novel extension of the GBD Study shows the untapped potential for personal health-care access and quality improvement across the development spectrum. Amid substantive advances in personal health care at the national level, heterogeneous patterns for individual causes in given countries or territories suggest that few places have consistently achieved optimal health-care access and quality across health-system functions and therapeutic areas. This is especially evident in middle-SDI countries, many of which have recently undergone or are currently experiencing epidemiological transitions. The HAQ Index, if paired with other measures of health-system characteristics such as intervention coverage, could provide a robust avenue for tracking progress on universal health coverage and identifying local priorities for strengthening personal health-care quality and access throughout the world. Bill & Melinda Gates Foundation.

This paper examines the preparatory studies carried out by Almada Negreiros for the 1949 mural paintings at the Rocha do Conde de Óbidos Maritime Station, focusing on the evolution of the artist’s choices in terms of composition and the use of colours. By comparing these studies with the final work, the aim was to add new information regarding Almada’s creative process, offering new insights into his methodology and artistic decisions. The work was based on collating drawings from several archives and collections. Results showcase examples of how these studies can be seen as autonomous works, in some cases as ramifications and in other cases as a process of revisitation of recurrent themes of Almada’s visual and literary practice. Results also show how drawings became progressively more geometrical as the studies progressed, moving away from the more naturalistic figuration, and how colour followed the same path, becoming more vivid and sometimes unrealistic.

What is most remarkable about the Festival of Almada, is its success in maintaining an open relationship with the world community as well as a close connection to the local culture; everything starts from within and gradually expands to embrace the entire world. This year the festival celebrated its fortieth birthday with a rich program of domestic and foreign productions, including drama, dance, and New Circus, presented on nine stages.

This paper presents the results of observations and analysis carried out in the modern mural painting of 54m2, known as Planisphere (or Mapa-mundi), made by Almada Negreiros in 1939 in the city of Lisbon. The painting is Almada’s first monumental painted work at fresco, and it is a striking, colourful composition inspired by early world maps of navigators. The aim is to ascertain how he built up this masterpiece and what artistic sources could have inspired him. The analytical setup comprised in-situ technical photography in the visible (Vis and Vis-Rak) and near infrared radiation (NIR), Vis-handled-Optical microscopy, complemented by laboratorial analysis of microsamples collected from paint layers with OM-Vis-UV and SEM-EDS. The data obtained was compared with the painting compendiums of Paul Bedouin’s La fresque. Sa Technique-ses applications (1914) and of Costin Petresco’s L’art de la fresque (1931), retrieved from the artist studio in 2019. The study reveals the first technical and material features found, such as the painting execution by large giornate, the use of different types of techniques to transfer the drawings to the wall, and the presence of paint layers made with buon and lime fresco. The results also reveal the likely strategies used by Almada to overcome the challenges imposed by a fresco execution, inspired by both eastern and western mural painting traditions.

La lectura de No es un río, de la escritora argentina Selva Almada, demuestra un significativo desplazamiento en su obra narrativa, pues esta novela dialoga con nuevos lenguajes, espacios y géneros. Un recorrido por sus textos anteriores permite recuperar los principales ejes de su proyecto estético, el cual, programáticamente, ha estado ligado a un espacio de provincia. En ese sentido, No es un río puede ser pensada como parte de la búsqueda por construir una “narrativa de provincia”, que está alejada del español estandarizado en Buenos Aires y que se distancia de los tópicos más usuales de la “literatura argentina”. Por lo tanto, este artículo propone un estudio de la novela en el cual se indague en la construcción del lenguaje, los modos de representación de los espacios y sujetos y la cuestión de los géneros literarios que atraviesan la obra.

This paper reports the first analytical approach carried out on two working palettes by Portuguese modernist master Almada Negreiros, found in 1991 behind old wood cabinets at the DN building in Lisbon. This is the only known occasion Almada left behind the color experiments done before starting to paint in the nearby walls and as such, it is a unique opportunity to analyze the materials and painting techniques that were originally used. The analytical setup comprised in loco technical photography in Vis, UVF and NIR; p-OM, spectrophotometry in Vis and h-EDXRF, complemented by OM-Vis, µ-FT-IR and VP-SEM-EDS of painting micro-samples and pigments in powder form. Preliminary results suggested the use of fresco painting technique and revealed some technical details, such as the use of a coarse lime sand finishing mortar mixed with natural vegetable fibers, and the extensive use of cadmium-based pigments that were not commonly used (or even recommended) in an alkaline environment. The Cd pigments were used alone or in mixtures with Fe based pigments in the warm hues and with cobalt and ultramarine blue pigments in some green paint layers. No clear evidence of organic materials that could have been used as binders was detected.

Reading of the literary work of Almada Negreiros concerning its constantly changing procedures, and focusing the major examples of its writing in order to underline the fundamental unity of its creative nucleus which lies in an experimental practice. This author’s writings show the main literary practice created around Orpheu (1915), portuguese vanguard movement, by activating the linguistic and literary codes in order to renew the paradigms. Later Almada’s work adopts a quite different record on which modernity and tradition dialogue in a critical and original way. This particular attitude and style was called by Almada Naivety.

In 1969, while completing what would be his final work, the panel \"Comecar\" found at the entrance to the Fundacao Calouste Gulbenkian, Almada Negreiros observed that there are two types of works: those that belong to everyone and those that are commissioned to hang on the wall. No other Portuguese artist of the 20th century received as many commissions as Almada. His public art projects that include representations of quotidian experience can be found throughout the city, in the form of murals, stained glass windows, tapestries, etc. In this essay, I analyze the visual vocabulary present in some of Almada's most important public art projects executed between 1938-1969, in an attempt to determine which of these works are perhaps mere \"commissions\" and which \"belong to everyone.\" In my opinion, the latter's success lies in their ability to express a sense of vernacular culture (what social reality feels like) and to communicate a colloquial and vivid experience of the present.

Este ensaio analisa a conceção de “mito” em Almada Negreiros, focando-se em Mito-Alegoria-Símbolo para harmonizar diversas manifestações mitopoéticas ao longo da obra. O pensamento mitológico de Almada é contextualizado dentro da missão que atribui ao artista: como exemplo de individualidade radical e como reformador da coletividade; recuperando-se o poder que o mito teve na formação do indivíduo e da pátria para os poder transfigurar no século XX, atualizando-os.